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Klassiek - Verschenen op 10 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
Caruso, Pavarotti, Mario Lanza and many others have all succumbed – with more or less success − to the charms and spells of southern popular songs, filled with sunlight, liveliness and joy of life. Dazzling Latvian mezzo soprano Elīna Garanča takes her shot at this tradition with her first “non-classical” album, released under the Yellow Label of Deutsche Grammophon. Exploring a predominantly masculine repertoire, she masterfully proves music has no barriers and that joy belongs to everyone.Living in the Canary Islands, Elīna Garanča has selected a few pearls, not necessarily the rarest, from the Spanish repertoire, as well as some works from Italy and Latin America, with bespoke arrangements often prepared by her husband and conductor Karel Mark Chichon, who leads the Philharmonic Orchestra of Gran Canaria for this performance. The result is a commingling of songs and extracts of zarzuelas and tangos, including Yo Soy Maria by inevitable and dear Astor Piazolla.The perfect opportunity to experience Elīna Garanča’s irresistible velvety voice and her God-given ability to sing anything with the same enthusiasm. The purity of her vocal line and ability to alter her tone to match the repertoire bestow a new dimension to these popular miniatures, and contribute to slimming, almost abolishing the boundary between opera and popular music. © François Hudry/Qobuz
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Klassiek - Verschenen op 1 januari 2009 | Deutsche Grammophon (DG)

Onderscheidingen Diamant d'Opéra
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Klassiek - Verschenen op 1 januari 2012 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 6 november 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 24 juli 2020 | Decca Music Group Ltd.

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Three composers are particularly well suited to conductor Daniel Barenboim: Bruckner, Wagner and Sir Edward Elgar; no doubt a question of orchestral colour and texture. Since his collaboration with the Universal labels has resumed (Decca for orchestral projects, Deutsche Grammophon for piano), he has once again been exploring the English composer's orchestral works with his beloved Staatskapelle Berlin, an ensemble characterised by dark timbres. After beautiful versions of the two symphonies and The Dream of Gerontius, what a joy it is to now be able to immerse ourselves in Sea Pictures, one of the most poetic song cycles of the late 19th century. The broad spectrum of the Latvian mezzo-soprano Elīna Garanča's voice and her silky timbre fit perfectly with the lyrical yet tragic lines of Where Corals Lie (the most beautiful “song” of the cycle), as well as with the more theatrical The Swimmer, which takes on a truly extravagant tone. Unlike many other recordings since the legendary 1965 recording by Dame Janet Baker and Sir John Barbirolli with the London Symphony Orchestra (His Master's Voice), Elīna Garanča and Daniel Barenboim willingly drop the melancholy and contemplative tone of Sea Pictures. More in keeping with the romantic performances of the early 19th century (Berlioz), following a pattern of "Introduction" (Sea Slumber Song), "Aria I" (In Haven), an alternating form mixing recitatives and ariosos (Sabbath Morning at Sea), "Aria II" (Where Corals Lie) and "Conclusion" (The Swimmer), they have created a much more dramatic atmosphere despite very measured tempo contrasts. Barenboim's clearly drawn phrasings in the introduction of the last "song" can testify to this new approach, which in this respect is very different from the earlier recording with Yvonne Minton (CBS). Daniel Barenboim and the Staatskapelle Berlin continue the programme with the symphonic study Falstaff, composed in 1912, on which the conductor underlines its links with the work of Richard Strauss (Don Quixote, Ein Heldenleben). As always, Daniel Barenboim's conducting is full of verve (Falstaff's March). A truly wonderful rendition. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 januari 2013 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 6 november 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 4 november 2016 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 januari 2009 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 januari 2010 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 24 juli 2020 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2006 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 12 mei 2017 | Erato - Warner Classics

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Klassiek - Verschenen op 24 juli 2020 | Decca Music Group Ltd.

Three composers in particular have been successful with the conductor Daniel Barenboim: Bruckner, Wagner and Sir Edward Elgar; a matter of orchestral colour and texture no doubt. Since his collaboration with Universal's labels has resumed (Decca for orchestral projects, Deutsche Grammophon for piano), he is once again exploring the English composer's orchestra with his beloved Staatskapelle Berlin, an ensemble characterised by dark textures. After beautiful versions of the two symphonies, and even The Dream of Gerontius, it’s a joy to now immerse ourselves in Sea Pictures, one of the most poetic melody cycles of the late 19th century: the broad spectrum of the Latvian mezzo-soprano's voice Elīna Garanča, like her silky timbre, wonderfully carries the lyrical yet tragic lines of Where Corals Lie (the most beautiful “song” of the cycle), like the more theatrical character of The Swimmer, which takes on its true dramatic tone here. Unlike many other recordings since the legendary 1965 recording by Dame Janet Baker and Sir John Barbirolli with the London Symphony Orchestra (His Master's Voice), Elīna Garanča and Daniel Barenboim willingly shed the melancholy and contemplative tone of Sea Pictures and create a more dramatically energetic atmosphere, more in the spirit of the romantic "scenes" of the early 19th century (Berlioz), with an "Introduction" (Sea Slumber Song), "Aria I" (In Haven), an alternating form of recitatives and ariosos (Sabbath Morning at Sea), "Aria II" (Where Corals Lie) and "Conclusion" (The Swimmer), despite very measured tempo contrasts. The drawn-out phrasings by Barenboim at the opening of the last "song" can testify to this new approach, differing in this respect from the old engraving with Yvonne Minton (CBS). Daniel Barenboim and the Staatskapelle Berlin continue with the symphonic study Falstaff, composed in 1912, where Elgar underlined its links with the world of Richard Strauss (Don Quixote, Ein Heldenleben). The Staatskapelle Berlin is often tinged with mischief, with a completely different predominance of strings here. And Daniel Barenboim's momentum is still fully intact (Falstaff's March). A truly wonderful version. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 4 november 2016 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 10 mei 2019 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 18 december 2020 | Deutsche Grammophon (DG)

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